That shot was very complex to complete because the camera movement of the plate ( See Quicktime pics at botom ) had to blend with an aerial CG camera that flies out of a bunker to reach its final position at a quite high altitude ( see final matte painting bellow ) . At the beginning , matte painter TD Jeremy Boissinot and I were responsible for the delivery of a camera projected matte painting that covered only the camp and the background mountains . Once done , director Tarsem Singh decided to widen the end framing so the matte painting went into a second process and was completed by matte painting supervisor Mathieu Raynault .

Pics A , B , C , D represent different steps sof the shot . A and B correspond to the frame range in wich the blending between the plate and the matte painting happens .